Electroacoustic music, since its inception, has been situated in a cross-disciplinary
no-man's-land, with areas of interest spread in many directions; from
ideas of musical structures ordered through traditional pitch-classes to research
on physical modelling and analysis of sound and compositional structures through the
use of neural networks. Much of the material found in computer music has been developed
through processes of appropriation, both from sound recordings of physical events
and from the application of various principles found in the natural sciences.
This paper describes a large, interactive sound installation that was presented in Oslo during October 2002. The installation, in broad terms, brought the presence of the whole country into the one location through sound, and made the sound available for the public as material to play with or explore in a more structured fashion. The sonic results were streamed to the Internet, together with images from the exterior of the installation. The installation was located at the central train station in an area where thousands of people pass through every day. The curatorial idea was developed by two institutions, as an answer to their missions of providing interesting sonic material and events for the whole country. The idea was given concrete form by three composers, and brought up on a national level through co-arrangement with a large festival of contemporary music. Funding for the installation was provided by both private and public organisations. The installation serves as an example on how a large and complex work of art can be developed through institutional curatorial effort, artistic intentions and activity, and commercial interests. The installation maintained a high degree of artistic integrity while being accessible and attractive for large audiences.
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